Los Angeles Times' Scores

For 16,524 reviews, this publication has graded:
  • 56% higher than the average critic
  • 6% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Sand Storm
Lowest review score: 0 Saw VI
Score distribution:
16524 movie reviews
  1. [A] lovely, deeply nostalgic tribute.
  2. Although the message of the film sounds bleak, it is actually quite rousing.
  3. What has resulted is a blistering film you feel in the pit of your stomach, a jumpy, edgy piece of work that thrusts us into a personal maelstrom so tortured and intense, the emotions could be spread with a knife.
  4. Mystifying, intriguing, even infuriating, it shows what happens when an unconventional talent meets straightforward material.
    • Los Angeles Times
  5. Nimona is imaginative and boisterous, just like its main character — the kind of inspirational free spirit who gets a kick out of shocking and tormenting anyone who won’t just let her be who she is.
  6. There's not a second in the film that isn't a reminder that New Orleans in its architecture, cuisine and multicultural diversity as well as in its music is a unique and major American center of culture. Murphy has made a film more valuable than he surely ever could have imagined.
  7. Enchanted is as good as its name.
  8. A classic war film, at once elegiac and immediate, that takes you smack into the chaos of combat yet is marked by a detached perspective.
  9. Charming, disarming and in some ways humbling film.
  10. Kitano uses exaggerated acting, choreo-graphed violence and, most radically, the rhythms of everyday life -- farmers pounding the earth, the syncopated plop of falling rain -- to turn this genre story into a crypto-Kabuki play and one blissfully idiosyncratic diversion.
  11. Its cleverness and its good heart enable it to overcome a slow start, which is how all good fairy tales end.
  12. Might have benefited from a more satirical edge.
  13. This fresh, highly original film, inspired by Oliveira's substantially different, never-filmed 1952 script, has been made with the greatest of ease and simplicity and with drollery and wit, yet its underlying impact is profoundly spiritual.
  14. It has opulent, stylized settings of elegance, grandeur and scope, flawless special effects, and awesome martial arts combat staged by the master, Sammo Hung. Yet bravura spectacle never overwhelms either the plot or the key characters. Chang Chia-lu's intricate script bristles with wit and suspense; the film from start to finish is a terrific entertainment.
  15. Director Brett Haley, who co-wrote the film with Marc Basch, has managed to create a film about those final years that gets to the heart of things like loss and love without patronizing or parody. No small thing to create a movie whose cast is mostly in their 70s yet whose story is so relatable whatever your age.
  16. A delicate, unforced meditation on the bonds of family and the joys and wonders hidden in everyday life, this film is able to move audiences without apparent effort, and that must be experienced firsthand to be appreciated and understood.
  17. Collectively, the mixed approaches illuminate a complicated man, at once spiritual and temperamental.
  18. In the new documentary Mapplethorpe: Look at the Pictures, directors Fenton Bailey and Randy Barbato do an ultra-fine job tracing a born provocateur's commitment to his calling.
  19. "Stefan Zweig" is only Schrader's second film as a director, but, armed with clear ideas of what she wanted to convey and how she wanted to convey it, she's made a movie that allows its actors to fully inhabit their characters in a potent but low-key way.
  20. Dyrholm, an actress of formidable presence who expertly handles her own singing as well as the acting, gives a strong, truthful, unflinching performance that powers the film the way Christa's energy powered the bands she was in those late days.
  21. To watch Santosh is to feel the undeniable power of a discerning, resonant case study. To fully know this character, however, is a goal just outside this otherwise intelligently wrought movie’s considerable reach.
  22. Jean de Florette is like good peasant bread: honest, chewy, unsurprising and heavily satisfying.
  23. Stiller’s approach is musical; his assembly of clips and photos is musical — poetic, not prosaic
  24. Spy
    Spy may not be a great movie, but it is great fun. And at times it will have you wondering if there's that much of a difference.
  25. Looser and less obviously formulaic in its fresh approach to our hearts, the brash Lilo & Stitch has an unleashed, subversive sense of humor that's less corporate and more uninhibited than any non-Pixar Disney film.
  26. What’s best about A Chiara is its totality of naturalism and subjectivity — how it humanely complicates a teenager’s newfound self-possession, so that we admire her quest for clarity and reckoning about her family, while worrying how it will affect the decision she makes about her future.
  27. Though the second half contains the fireworks, it's the film's first hour that is ultimately most memorable. Mantel and Skrovan do a commendable job in covering a lot of territory, mixing pertinent and entertaining archival footage with interviews.
  28. What happens when a seemingly righteous operation goes wrong and anxiety threatens to overtake ideals? It is the question Night Moves asks and answers in chilling ways.
  29. It conveys a sense of moral quagmire, of sinking into squishily dangerous terrain, honeycombed with tunnels and traps, all hell exploding around it. That’s the imagery of the movie’s first battle scene, a taut prologue for a superb film.
  30. A moving testament to the boundary-shattering language of music.

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